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Lorenzo Gulli, giornalista e presidente Fondazione 'Duc in Altum', con l'autirce della performance pittorica
© Foto di Cristiano Proia
'L'Amore per il Creato - A lezione da Wojtyla'
Genzano di Roma, Palazzo comunale, Sala Consiliare
13 gennaio 2012
d'anonimo
- Raccolta de Alvariis;
- Questa foto necessita di una compagna adeguata, se qualcuno vuole cimentarsi è benvenuto.
S.E. Mons. Emery Kabongo, arcivescovo emerito di Luebo
© Foto di Cristiano Proia
'L'Amore per il Creato - A lezione da Wojtyla'
Genzano di Roma, Palazzo comunale, Sala Consiliare
13 gennaio 2012
S.E. Mons. Emery Kabongo, arcivescovo emerito di Luebo
© Foto di Cristiano Proia
'L'Amore per il Creato - A lezione da Wojtyla'
Genzano di Roma, Palazzo comunale, Sala Consiliare
13 gennaio 2012
Lorenzo Gulli, giornalista e presidente Fondazione 'Duc in Altum', con l'autrice della performance pittorica
© Foto di Cristiano Proia
'L'Amore per il Creato - A lezione da Wojtyla'
Genzano di Roma, Palazzo comunale, Sala Consiliare
13 gennaio 2012
© Genz, Lindner / transmediale
No copyright UBERMORGEN.COM, 2003
Courtesy Caroll / Fletcher London, Fabio Paris Brescia, [DAM] Berlin
photo: Oliver Jiszda
PsychOS, 2004
Lambda Print on Aluminium
In common language the notion of an operating system refers to the basic set of programmes that manages the hardware resources and facilitates the software applications of our personal computers. It is the basic infrastructure that makes the enclosed entity of the computer function efficiently. But ever since the publication of Vannevar Bush’s article “As We May Think” (1945) computers have been conceived and developed in continuation of the human mind, and with the intensification of computer use is it not necessary to expand the notion and say that the operating system also affects, or rather controls, the hardware and software of our brain? And what if the operating system turns out not to function as intended, if its processors overheat or it gets infected by a virus? After a decade of dot.com success, media hacks that were discussed on CNN, a Golden Nica award, and the drug infused partying that was part of the net art jet-set, in 2002 Hans Bernhard of UBERMORGEN.COM experienced a manic attack. He was hospitalised and embarked on a quite different journey into the landscape of digital utopias, where the sky is not “Windows blue.”
Der Hammer ist unverzichtbares Werkzeug beim Silberschmieden. (Foto: Ilka Bärwald)
Die Goldschmiedemeisterin Katja Osterhoff-Genz schmiedet in ihrer kleinen Dorfgoldschmiede in Haltern am See individuelle Schmuckstücke nach Kundenwunsch.
Sie gibt bereits seid über zehn Jahren in Kooperation mit dem Trigon Haltern, dem Katholischen Bildungswerk Recklinghausen der VHS Marl, dem Areopag Recklinghausen der VHS Dorsten oder der Familienbildungsstätte Recklinghausen Goldschmiedekurse für Erwachsene, Kinder und Jugendliche.
Das Kurprogramm wird durch Intensivkurse mit wenigen Teilnehmern, Pastoralkursen oder Beauty&Wellness Kursen ergänzt. Regelmässig treffen Sie die Goldschmiedin zum Beispiel beim Moonlight Shopping Seppenrade und anderen Veranstaltungen.
Buchen Sie auch Ihren Platz in einem Goldschmiedekurse bei der Goldschmiedemeisterin Ihnen mit Rat und Tat zur Seite steht.
Kurstermine und weitere Informationen gibt es auf der Internetseite: www.mobile-goldschmiedekurse.de
© Genz, Lindner / transmediale
Presentation of the reSource for transmedial culture
With: Tatiana Bazzichelli (transmediale), Stéphane Bauer (Kunstraum Kreuzberg /Bethanien, Berlin), Oliver Baurhenn (CTM, Berlin), Clemens Apprich and Oliver Lerone Schultz (Post-Media Lab, Leuphana University Lüneburg). Introduced by Kristoffer Gansing.
The reSource for transmedial culture is an initiative of transmediale, which aims to create a distributed platform and a peer-production context of research, knowledge and artistic practices throughout 2012 and beyond. The reSource works in partnership with CTM/DISK, Kunstraum Kreuzberg/Bethanien and the Post-Media Lab of the Leuphana University Lüneburg. Within the aegis of facilitating collaboration and the sharing of resources and knowledge between the transmediale festival in Berlin and the local and translocal scene engaged with art and digital culture, the reSource acts as a link between the cultural production of art festivals and collaborative networks in the field of art and technology, hacktivism and politics. The launch of the reSource takes place at transmediale with a dissemination of workshops, talks and performances, looking into the future through a series of events scheduled in the course of 2012, leading to the next transmediale festival in 2013.
S.E. Mons. Emery Kabongo, arcivescovo emerito di Luebo
© Foto di Cristiano Proia
'L'Amore per il Creato - A lezione da Wojtyla'
Genzano di Roma, Palazzo comunale, Sala Consiliare
13 gennaio 2012
Sábado de treino classificatório da 3ª etapa da Stock Car 2018, no Autodromo do Velopark, em Nova Santa Rita, RS.
Presentación del Laboratorio de Experimentación y Creación Artística a cargo de Alba González y Genzo P. que tuvo lugar el 28 de octubre´18 en el Musac .
Álbum L.E.C.A - GENZO P. & ALBA GONZÁLEZ - PRESENTACIÓN EN EL MUSAC 28.10.18
SECUENCIAS es un ciclo de intervenciones sonoras en el espacio, desde el que la Fundación Cerezales Antonino y Cinia invita a distintos músicos y artistas sonoros a realizar composiciones site specific que suenen en lugares concretos e interaccionen con los elementos espaciales.
En la Secuencia I, Nacho Román utiliza sonidos e imágenes recogidos en la pradera donde tuvo lugar la intervención, trabajando con la manipulación sonora y visual de esos registros.
En la Secuencia II, Genzo P. propone un diálogo con el vestíbulo de las instalaciones de FCAYC.
Álbum SECUENCIAS I Y II - FUNDACIÓN CEREZALES, ANTONINO Y CINIA - 5.09.2020
Particolare di un quadro di petali di fiori dell' Infiorata di Genzano di Roma - 14.6.2009 - Elaborazione
© Genz, Lindner / transmediale
Ben Woodeson’s works are deliberately confrontational; the pieces confront both the viewer and the exhibiting institution with their real or implied activity and consequences. Manipulating everyday materials within a space, the works keep the viewer poised in a state of slight suspense. Their physicality aims to instigate an intense and visceral relationship with the viewer and the gallery architecture. Threatening ripples of consequence are sent throughout the sculptures and audience alike.
Since 2009 Woodeson has been making the overtly provocative and confrontational Health and Safety Violation series. Some works are calm, stable and self-contained whilst others confront the viewer with catastrophic outcomes, some are deliberately dangerous, others only sound like they are…
For in/compatible Ben Woodeson is presenting a new work from his Health & Safety Violation series. A seemingly innocent sculptural curtain bisecting the foyer space, positioned to obstruct the visitor’s default routes. To avoid the work requires a conscious detour by the visitor. Equally, engaging with it requires a willingness to take risk. This is an "interactive" piece that does not pretend to be harmless.